Interview
Ajota (pronounced A-ho-tah) is the musical alias of Portland based Ajay Morrison. Well known amongst renegade party circles in the Pacific Northwest, Ajay is a standout DJ and producer, with releases on Ommaya Records, 320 RIP and 254 Science & Research.
Ajay’s hard hitting yet left field approach to electro and break beat techno are unique amidst the new age of fast and heavy dance music. After featuring him at our collaborative party with Samewave at Process last February, I’ve been anxious to get him on air for a mix. It’s a pleasure to squeeze him in between his tours as a wildland firefighter this summer.
Can you share your take on the renegade party scene in the PNW? What’s different with these parties than club nights? Do you have a preference for one over the other?
Most of the renegades I’ve gone to have been thrown by close friends in Bellingham and Seattle, which usually take place in the forests of NW Washington. This is where I began to develop my love for Djing and learn what I wanted to curate for a dancefloor. There’s something special about experiencing music in the forest like that; I find it to be more intimate and easier to connect with the music, whereas in a club setting it can be difficult for me to be fully engaged throughout a set. DIY raves feel more authentic and inclusive to me because it’s not for profit and anyone can play despite experience level or genre preference. Clubs have their benefits, but they also have limitations.
Can you give us a peak into the production process on your recent track Sepulchre, out on 254 Science & Research?
This track I was aiming for a heavier, darker tune. I focused on a straight-forward breaky, driving club rhythm accompanied by a rolling sub bass and squelching midrange basses. I used a combination of Serum, Pigments, and Operator to create the basses, and a variety of percussive samples to fill out the rhythmic elements. I adjusted the transients on the breaks to be tight and crisp-sounding in the second half of the track. I use this technique often to have a cleaner, sharper sound and to vary the dynamics of the track. I also used a lot of delay and reverb on most of the instruments, while still balancing it with some dry sounds. Playing with the parameters of these effects, especially delay and echo, adds a lot of texture and movement.
I recall the first instrument you were proficient with was drums. How has that influenced your productions?
I think I’ve always been more concerned with the rhythm sections of tracks; it’s what’s always come naturally to me. I’m more drawn to tracks with complex and interesting drum patterns. I typically start my creative process with a percussive and rhythmic element, then adding in atmospheric or melodic elements later. I enjoy the hypnotic aspect of a consistent kick drum, but my drummer brain always appreciates some variation in the kick pattern.
You’ve spent the last several years as a wild land fire fighter in Southern Oregon and Northern California. What can you share about that experience?
It’s a very exciting and unique job; I normally work with a handcrew consisting of 20 people performing various fire containment strategies. It’s a seasonal job so I only spend about 3 months of the year doing that. It’s nice to work outside and in areas of wilderness that most people will never go. It’s beautiful and inspiring to be able to see those parts of the world, but the conditions can be brutal at times.
Tell us a little about your mix.
In this mix, you can anticipate ethereal, spacious electro and techno. Toeing the line between driving club tracks and more hypnotic, chilled-out breakbeats, I’ve been seeking out winding, spiraling basses with moments of acid. I spend a lot of time curating my playlists as I’m attempting to encapsulate a particular sonic throughline of introspective, moody electro-adjacent selections. I find a lot of catharsis through these kinds of tracks so I appreciate the headspace that comes from building a set like this.
What’s on the horizon for you?
I’m working on finishing music to release with some labels overseas. I’m really excited about this as they’ve previously released some of my favorite music.
I’m hoping to start playing out more in Portland as I get settled and find my niche within the scene. The music here is largely what drew me to move, so I’m looking forward to getting involved.
For more from Ajota, including upcoming releases and more, follow him here: